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Phoebe Philo for Céline, Fall 2015, Paris, 2015

There is allegedly no such thing as coincidence, so presumably there’s some meaning to the fact that Phoebe Philo was showing her new Céline collection on International Women’s Day, even though she conceded that she was very conscious of walking a line between the responsibility that has been bestowed upon her as the Designer Who Knows What Women Want and the borderline irresponsibility of pleasing herself. A challenging balancing act, for sure, except that in addressing her own wants and needs, Philo managed to find a new space for Céline.

“The best part of this job is finding out more about myself,” she said after the show. “It gets deeper and deeper into the roots.” And where those roots went deep today was into a new sense of playfulness. Big, fluffy pom-poms? Otters and foxes and deer as literal animal prints? Duvet coats? All that and more showed a new side of Céline. “Dressed-up-ness,” Philo called it. “I was never in the headspace to approach it before. I find glamour and sexuality awkward. When do they feel authentic? What’s real, what’s not?” Big questions. And Philo addressed them with a collection that, by her own admission, was a little Latin American. “The blood is hotter,” she said. “The approach is more dramatic.”

That was certainly helped by Brazilian musician Caetano Veloso crooning ardently on the soundtrack, and a set that had the flavor of a villa in Rio, with wood-grain pillars and terra-cotta tiles. They cracked as the models walked on them. Why was that erotic? And that was before knits that defined the body, and coats that were fervently trimmed in fox, and shoes whose heels were bejeweled, and a surreal Madonna nod with a knit bustier. And holsters! “There was almost too much going on,” Philo conceded. “That’s why there were other times when it was more gritty, more Northern soul, less passionate.”

Maybe by “less passionate” she meant plain knit dresses worn with high-tops (“Keeping everyone grounded,” she said) but they were a respite in a collection that otherwise shunted boldly into graphic new territory. This wasn’t the first collection this season that has exalted the artisanal work of the hand, but here it had a particularly striking naïveté: boiled-wool pieces with embroidery smashed up, broken down, as well as trims of fur and feather. Those animal prints were hand-drawings based on the illustrations in children’s books. Then there was the fox fur. “Loaded, vulgar, intense,” said Philo. “I’m trying to propose that we women go for it.”

How many times has it been said that design is autobiography? This collection was a testament to that truth: a freer Philo, a Philo in search of fun. Yes, the duvet coats spoke of the protection that was an early Céline signature, but here the sleeves buttoned off and some of them were peeled back, suggesting imminent breakout.

View from the Mars Hand Lens Imager camera on the arm of NASA’s Curiosity Mars Rover and Curiosity Self-Portrait at Mojave Site on Mount Sharp, Mars, 2015

A team using the Sample Analysis at Mars (SAM) instrument suite aboard NASA’s Curiosity rover has made the first detection of nitrogen on the surface of Mars from release during heating of Martian sediments. The nitrogen was detected in the form of nitric oxide, and could be released from the breakdown of nitrates during heating. Nitrates are a class of molecules that contain nitrogen in a form that can be used by living organisms. The discovery adds to the evidence that ancient Mars was habitable for life.

Nitrogen is essential for all known forms of life, since it is used in the building blocks of larger molecules like DNA and RNA, which encode the genetic instructions for life, and proteins, which are used to build structures like hair and nails, and to speed up or regulate chemical reactions.
However, on Earth and Mars, atmospheric nitrogen is locked up as nitrogen gas (N2) – two atoms of nitrogen bound together so strongly that they do not react easily with other molecules. The nitrogen atoms have to be separated or “fixed” so they can participate in the chemical reactions needed for life. On Earth, certain organisms are capable of fixing atmospheric nitrogen and this process is critical for metabolic activity. However, smaller amounts of nitrogen are also fixed by energetic events like lightning strikes.

Features resembling dry riverbeds and the discovery of minerals that only form in the presence of liquid water suggest that Mars was more hospitable in the remote past. The Curiosity team has found evidence that other ingredients needed for life, such as liquid water and organic matter, were present on Mars at the Curiosity site in Gale Crater billions of years ago.

“Finding a biochemically accessible form of nitrogen is more support for the ancient Martian environment at Gale Crater being habitable,” said Jennifer Stern of NASA’s Goddard Space Flight Center in Greenbelt, Maryland. Stern is lead author of a paper on this research published online in the Proceedings of the National Academy of Science March 23.

“Scientists have long thought that nitrates would be produced on Mars from the energy released in meteorite impacts, and the amounts we found agree well with estimates from this process,” said Stern.

The team found evidence for nitrates in scooped samples of windblown sand and dust at the “Rocknest” site, and in samples drilled from mudstone at the “John Klein” and “Cumberland” drill sites in Yellowknife Bay. Since the Rocknest sample is a combination of dust blown in from distant regions on Mars and more locally sourced materials, the nitrates are likely to be widespread across Mars, according to Stern.

The Manhattan Love Suicides are a series of short films by Richard Kern: Stray Dogs, Woman At The Wheel, Thrust In Me and I Hate You Now.

“Stray Dogs” concerns an artist being followed thru the streets by an obsessive young man (a terrific David Wojnarowicz) who tries to gain his attention. He follows the artist back to his apartment and begins literally tearing himself apart in frustration – at this point the artist laughs at him and begins to sketch his dying body.

“Woman At The Wheel” follows a woman who takes her boyfriends (1 at a time) for a drive – but they only spark arguments and insist on taking the wheel. She eventually beats one of them senseless, and wrecks the car.

“Thrust In Me”, stars Nick Zedd as both the suicidal girl and her thrusting boyfriend. Includes a great cameratrick orgasm of monumental proportions.

“I Hate You Now” features Tommy Turner as a facially deformed drug dealer and Amy Turner as his girlfriend. The film repeatedly taunts the notion of “deformity and ugliness” before ending in a serious iron-burn and a barbell suicide.

Richard Kern (born 1954 in North Carolina) is a New York underground filmmaker, writer and photographer. He first came to underground prominence as part of the underground cultural explosion in the East Village of New York City in the 1980s, with erotic and experimental films featuring underground personalities of the time such as Lydia Lunch, David Wojnarowicz, Sonic Youth, Kembra Pfahler, Karen Finley and Henry Rollins in movies like The Right Side of My Brain and Fingered. Like many of the musicians around him, Kern had a deep interest in the aesthetics of extreme sex, violence, and perversion and was one of the leading lights of the movement which Nick Zedd coined the Cinema of Transgression.

Kern’s first dabbling in the arts was a series of self-produced underground magazines featured art, poetry, photography, and fiction by Kern and several friends. These hand-stapled and photocopied zines expressed the bleakness of New York City’s East Village in the early 1980s. Kern’s first zine was the bi-monthly “The Heroin Addict,” which was later renamed to “The Valium Addict.” About 12 issues of these two zines were produced, along with the occasional special issue. This phase of Kern’s career lasted from late 1979 to around 1983.

Christopher Horace Steele-Perkins (born 28 July 1947) is a British photographer and member of Magnum Photos, best known for his depiction of Africa, Afghanistan, England, and Japan.

Steele-Perkins photographed wars and disasters in the third world, leaving Viva in 1979 to join Magnum Photos as a nominee (on encouragement by Josef Koudelka), and becoming an associate member in 1981 and a full member in 1983. He continued to work in Britain, taking photographs published as The Pleasure Principle, an examination (in colour) of life in Britain but also a reflection of himself. With Philip Marlow, he successfully pushed for the opening of a London office for Magnum; the proposal was approved in 1986. Steele-Perkins served as the President of Magnum from 1995 to 1998.

Steele-Perkins made four trips to Afghanistan in the 1990s, sometimes staying with the Taliban, the majority of whom “were just ordinary guys” who treated him courteously. Together with James Nachtwey and others, he was also fired on, prompting him to reconsider his priorities: in addition to the danger of the front line:

“you never get good pictures out of it. I’ve yet to see a decent front-line war picture. All the strong stuff is a bit further back, where the emotions are.”

A book of his black and white images, Afghanistan, was published first in French, and later in English and in Japanese. The review by Philip Hensher in the Spectator read in part:

“These astonishingly beautiful photographs are more moving than can be described; they hardly ever dwell on physical brutalities, but on the bleak rubble and desert of the country, punctuated by inexplicable moments of formal beauty, even pastoral bliss… the grandeur of the images comes from Steele-Perkins never neglecting the human, the individual face in the great crowd of history.”

Work in South Korea included a contribution to a Hayward Gallery touring exhibition of photographs of contemporary slavery, “Documenting Disposable People”, in which Steele-Perkins interviewed and made black-and-white photographs of Korean “comfort women”.“Their eyes were really important to me: I wanted them to look at you, and for you to look at them”, he wrote. “They’re not going to be around that much longer, and it was important to give this show a history.” The photographs were published within Documenting Disposable People: Contemporary Global Slavery.

Hauser & Wirth is a gallery of contemporary art and modern masters, with locations in Zurich, London, New York, Somerset and Los Angeles.

Hauser & Wirth was founded in Zurich in 1992 by Iwan Wirth, Manuela Wirth and Ursula Hauser. In 1996, the gallery’s first permanent location, Hauser & Wirth Zürich, opened in the former Löwenbräu brewery building, along with other contemporary art galleries, the Kunsthalle Zürich, and the Migros Museum für Gegenwartskunst Zürich.

Hauser & Wirth opened its first London gallery on Piccadilly in 2003 with an installation by Los Angeles-based artist Paul McCarthy and, in 2010, the gallery opened a second permanent space on London’s Savile Row.

In 2006, Hauser & Wirth opened a new space at the historic premises of 15 Old Bond Street, shared with the UK’s leading old master dealer, Colnaghi. The gallery hosted two to three twentieth century and contemporary shows each year, including exhibitions of works by Louise Bourgeois, Berlinde de Bruyckere, Subodh Gupta, Henry Moore and Francis Picabia, before the space closed in 2010. Hauser & Wirth also opened an enormous temporary project space in London’s East End in 2005. Hauser & Wirth Coppermill showed exhibitions by Martin Kippenberger and Dieter and Björn Roth, Christoph Büchel and Martin Creed before it closed in July 2007.

In September 2009, the gallery inaugurated its outdoor sculpture programme in Southwood Garden, St James’s Church, London, with an exhibition by Swiss artist Josephsohn. Also in September, Hauser & Wirth opened a New York gallery in the Upper East Side of Manhattan with ‘Allan Kaprow: Yard’, an Environment first made in 1961 by Allan Kaprow, the American artist known as the inventor of ‘Happenings.’

In October 2010, Hauser & Wirth London opened their new gallery, designed by Selldorf Architects, at 23 Savile Row with the exhibition, ‘Louise Bourgeois: The Fabric Works’. In December 2013, Hauser & Wirth closed their Piccadilly gallery permanently.

In 2013, Hauser & Wirth opened their second New York gallery at 511 West 18th Street, in what used to be the Roxy. Located on the second level of a Chelsea garage, the gallery draws visitors up a long, sweeping stairway before revealing the 10,000 square feet exhibition space. Several artists contributed to the project including Björn Roth, who designed the gallery’s Roth Bar as a tribute to his father Dieter Roth; and Martin Creed, who created a custom installation for the entrance stair hall.

In July 2014, Hauser & Wirth Somerset opened on the outskirts of Bruton in Somerset. Hauser & Wirth Somerset is a gallery and arts centre focused on a core belief in conservation, education and sustainability, and is designed around several renovated Grade II-listed historical buildings as well as two new purpose built galleries on the site of Durslade Farm. Accompanied by an extensive education programme and regular artists-in-residence, the gallery aims to share contemporary art with new audiences and to engage the public with art, the countryside and the local community. In September 2014, a landscaped garden designed for the gallery by internationally renowned landscape architect Piet Oudolf was launched, including a perennial meadow that sits behind the gallery buildings.

That’s how Jamie Bartlett, author of The Dark Net, sums up the constantly evolving battle in cyberspace between terrorists and the intelligence agencies trying to discover their hidden communications.

“The unbelievable growth in widely available (encryption) software will make their job much harder,” he said. “What it will mean is a shift away from large-scale traffic network analysis to almost old-fashioned intelligence work to infiltrate groups – more and people on the ground as opposed to someone on a computer in Cheltenham.”

In the Second World War there was Enigma, the German cipher machine eventually decoded by Britain. There was also steganography, the art of shrinking and concealing information inside objects such as microdots, usually only detectable by those who knew exactly where to look.

In Cold War days spies sat next to each other on park benches or left secret messages to be picked up later in “dead letter drops” behind objects such as flowerpots or in crevices in walls.

In the 1990s extremist groups used satellite phones and faxes to communicate, with paper messages from Osama Bin Laden in Afghanistan churning out of a fax machine operated in North London by his UK representative. Already that sounds almost prehistoric.

For close to two decades now the internet has been the river through which most terrorist communications flow, hiding amongst the legitimate, the ordinary, the innocuous or the just conventionally criminal.

The dark web sounds sinister and it certainly does hide a multitude of very dark dealings. But the sheer volume of ordinary people now using it as a matter of course have inevitably pulled it closer into the mainstream of digital communications.

The more people who use it, the easier, in theory, it will be for terrorists to hide their own messages amongst its terabytes of data. But the dark web does have benign uses and while it presents a growing challenge to counter-terrorism authorities this is a phenomenon that is unlikely to disappear anytime soon.